## Keely Chords

- LoneBear
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### Keely Chords

Keely represented electric and atomic structure as musical chords of three notes, called "triplets."

I was considering the formula, E=mc^2, which is normally considered a "matter to energy" conversion formula. But that is NOT correct. Examine the dimensions involved, using space and time units:

t/s = (t/s)^3 x (s/t)^2

What we call "matter" is just 3-dimensional ENERGY. Therefore, the formula just shows a dimensional relationship between energies. We know from Larson that the structure of the atom is temporal rotation. That rotation, when projected out into space in a linear form, becomes a vibration of specific frequency--a "note." Matter, being composed of three dimensions of energy, would therefore be 3 notes, linked together: a chord.

I believe this is what is being represented in Keely's diagrams of "atomic triplets." Rather than dealing with the interior rotations of the atom, he used E=mc^2 to break three-dimensional energy into three, 1-dimensional energies--vibrations--creating specific chords for specific atomic structures. He basically treated the atom like a transparent box, and took pictures through the sides to describe what was in there. (Larson, however, went inside the box.)

I was considering the formula, E=mc^2, which is normally considered a "matter to energy" conversion formula. But that is NOT correct. Examine the dimensions involved, using space and time units:

t/s = (t/s)^3 x (s/t)^2

What we call "matter" is just 3-dimensional ENERGY. Therefore, the formula just shows a dimensional relationship between energies. We know from Larson that the structure of the atom is temporal rotation. That rotation, when projected out into space in a linear form, becomes a vibration of specific frequency--a "note." Matter, being composed of three dimensions of energy, would therefore be 3 notes, linked together: a chord.

I believe this is what is being represented in Keely's diagrams of "atomic triplets." Rather than dealing with the interior rotations of the atom, he used E=mc^2 to break three-dimensional energy into three, 1-dimensional energies--vibrations--creating specific chords for specific atomic structures. He basically treated the atom like a transparent box, and took pictures through the sides to describe what was in there. (Larson, however, went inside the box.)

### Re: Keely Chords

Just thinking that the quaternion (as used in the RS2 "artificial reality" programming) might be a better representation of Keely's chord system... the quaternion is basically a 4-vibration system, three sine waves referenced to a single cosine wave, creating the "clock beat."

For any angle A:

i = x * sin(A/2)

j = y * sin(A/2)

k = z * sin(A/2)

w = cos(A/2)

(it is A/2 because the quaternion represents a solid rotation; angle in 4-pi steradians).

Keely also has some structures represented with 2 notes; so that would fit, as the quaternion could be 1, 2 or 3 "notes" to the reference beat.

For any angle A:

i = x * sin(A/2)

j = y * sin(A/2)

k = z * sin(A/2)

w = cos(A/2)

(it is A/2 because the quaternion represents a solid rotation; angle in 4-pi steradians).

Keely also has some structures represented with 2 notes; so that would fit, as the quaternion could be 1, 2 or 3 "notes" to the reference beat.

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- LoneBear
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### Re: Keely Chords

Then I guess I'll find out if Keely's science is a "natural consequence" of my RS2 artificial reality!

- LoneBear
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### Re: Keely Chords

Spaceman and I have been attempting to derive Keely's sympathetic vibration principles directly from the postulates of RS2, primarily because we can't make much sense of his few remaining diagrams. They can be generally understood when you consider "music" as the reciprocal of geometry, which seems to be missing entirely from the RS. Hopefully, but reengineering the SVP-style physics from scratch, we will discover the same things that Keely did--and perhaps more.

We did find that the particles of Keely's ether are cosmic motions in 3D time. However, Keely seems to have missed the reciprocal relation when crossing over the

Knowing the reciprocal relation exists as you cross over into "ether," we can correct the situation and use

To wit, we have found that his work requires a total of 16 octaves, 8 in space and 8 in time, both as "dual quaternion" structures--identical to the RS2 atomic model.

What the "octaves" turned out to be were the rotational planes of a quaternion, in the sequence: [1 2i 4j 8k]. The 1 being the "tonic" in music--it's "natural datum." (This also parallels Miles Mathis' atomic structure). Two of these quaternions are required for a dual quaternion, the components of which Keely refers to as positive and negative.

In RS2, the single, "electric" rotation that Larson uses (the C in the A-B-C notation) is replaced with a dual quaternion (A-B--C-D), because everything that exists in space also exists in time. However, we only see the

Just because we cannot directly "see" the cosmic rotations (space region), it does not mean that we cannot measure it via cosmic interactions--and that turns out to be the case of quantum energy levels. For example, the possible <i j k> rotations for a quaternion are:

Energy can interact with either the C (+) or D (-) rotation, so you get a further breakdown and different behaviors depending on the rotational displacement of the interacting particles.

That is the "technical" picture. We also took a look at the inter-relations that Keely uses, which are sympathy, discord and harmony. What we found was a correlation between rotational systems--when rotating systems interact at different speeds, they undergo an Euler transformation and dimensional reduction, resulting in wave patterns--vibration. This results in motion that needs to be canceled out by another motion, so the net is unity (everything seeks unity--motion is conserved).

What Keely appears to be doing is to create vibrational patterns that are NOT harmonious--but slightly out of whack--so that Nature supplies the balancing factor in the way of things like disintegration of structure, fusion of metals or levitation (progressing against gravity). When the external events happen, the system returns to harmony and we get "free energy" out of it.

There are still a lot of details involved, because these imbalances can be created between any rotational systems, between molecules, the atoms in a molecule, the rotations of the atom, itself, between rotation in space and rotation in time, and between cosmic atoms and molecules.

Also, one of the big discoveries was that the notes of music have little to do with frequency (the octave defines the tonic for tuning). The notes are just a

We did find that the particles of Keely's ether are cosmic motions in 3D time. However, Keely seems to have missed the reciprocal relation when crossing over the

*unit space boundary*from motion in space to motion in time, and as such, continued "up" the unity-to-infinity path resulting in*many*octaves (105 found so far). What he was doing with all these octaves was trying to complete an "infinite series" equation--which he could never have accomplished because it would require an infinite number of terms.Knowing the reciprocal relation exists as you cross over into "ether," we can correct the situation and use

*finite*time relations (rather than infinite space relations) of a fixed number of octaves to complete his original design.To wit, we have found that his work requires a total of 16 octaves, 8 in space and 8 in time, both as "dual quaternion" structures--identical to the RS2 atomic model.

What the "octaves" turned out to be were the rotational planes of a quaternion, in the sequence: [1 2i 4j 8k]. The 1 being the "tonic" in music--it's "natural datum." (This also parallels Miles Mathis' atomic structure). Two of these quaternions are required for a dual quaternion, the components of which Keely refers to as positive and negative.

In RS2, the single, "electric" rotation that Larson uses (the C in the A-B-C notation) is replaced with a dual quaternion (A-B--C-D), because everything that exists in space also exists in time. However, we only see the

*net motion*on this side--the C rotation--because only a magnitude can be transmitted across the unit boundary. This net motion shows up as a complex quantity of (linear + angular) velocity.Just because we cannot directly "see" the cosmic rotations (space region), it does not mean that we cannot measure it via cosmic interactions--and that turns out to be the case of quantum energy levels. For example, the possible <i j k> rotations for a quaternion are:

Code: Select all

```
i j k
2 0 0 = 2 (s)
2 4 0 = 6 (p)
2 0 8 = 10 (d)
2 4 8 = 14 (f)
```

That is the "technical" picture. We also took a look at the inter-relations that Keely uses, which are sympathy, discord and harmony. What we found was a correlation between rotational systems--when rotating systems interact at different speeds, they undergo an Euler transformation and dimensional reduction, resulting in wave patterns--vibration. This results in motion that needs to be canceled out by another motion, so the net is unity (everything seeks unity--motion is conserved).

What Keely appears to be doing is to create vibrational patterns that are NOT harmonious--but slightly out of whack--so that Nature supplies the balancing factor in the way of things like disintegration of structure, fusion of metals or levitation (progressing against gravity). When the external events happen, the system returns to harmony and we get "free energy" out of it.

There are still a lot of details involved, because these imbalances can be created between any rotational systems, between molecules, the atoms in a molecule, the rotations of the atom, itself, between rotation in space and rotation in time, and between cosmic atoms and molecules.

Also, one of the big discoveries was that the notes of music have little to do with frequency (the octave defines the tonic for tuning). The notes are just a

*phase offset*from that tonic, an "angle" in a rotating system. So Keely's diagrams are phase relationships, not frequency ones.Keeper of the Troth of Ásgarðr,

*Moriar prius quam dedecorer*.- LoneBear
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### Fundamental Postulates of Music

Since we could not make much sense of Keely's notation system, we are attempting to engineer it along the lines of Larson's deductive reasoning:

Just a "first draft" paralleling Larson's Postulates--RS2 concepts not yet included.

Dewey Larson wrote:The physical universe is composed of one component, motion, existing in three dimensions, in discrete units and with two reciprocal aspects, space and time.

The physical universe conforms to the laws of ordinary, commutative mathematics, its primary magnitudes are absolute and its geometry Euclidean.

*The musical universe is composed of one component, rhythm, existing in three octaves, in discrete notes and with two reciprocal aspects, beat and meter.*

The musical universe conforms to the laws of ordinary measure, it's primary notes are semitones and it's scale is Gregorian.The musical universe conforms to the laws of ordinary measure, it's primary notes are semitones and it's scale is Gregorian.

Just a "first draft" paralleling Larson's Postulates--RS2 concepts not yet included.

Keeper of the Troth of Ásgarðr,

*Moriar prius quam dedecorer*.### Re: Keely Chords

http://dantepfer.com/blog/?p=277

Rhythm / Pitch Duality: hear rhythm become pitch before your ears

"rhythm and pitch are exactly the same thing, only at very different speeds."

also the shape of the inner ear cochlea as a spiral is instructive of fundamental nature and the nature of our sense of hearing .

http://kytinnitustreatment.com/wp-conte ... labels.jpg

Rhythm / Pitch Duality: hear rhythm become pitch before your ears

"rhythm and pitch are exactly the same thing, only at very different speeds."

also the shape of the inner ear cochlea as a spiral is instructive of fundamental nature and the nature of our sense of hearing .

http://kytinnitustreatment.com/wp-conte ... labels.jpg

### Re: Keely Chords

Ran across this for the first time today and thought it might be of interest:

http://whatmusicreallyis.com/

http://whatmusicreallyis.com/

- LoneBear
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### Re: Keely Chords

We did discover this, in relation to the magnetic rotations of the Noble gases:

Unison:

1-1-0 Neutron

2-2-0 Neon

3-3-0 Krypton

4-4-0 Radon

Harmonic:

2-1-0 Helium (octave)

3-2-0 Argon (fifth)

4-3-0 Xenon (forth)

5-4-0 Ununoctium (third)

I thought it was a rather interesting correlation.

Unison:

1-1-0 Neutron

2-2-0 Neon

3-3-0 Krypton

4-4-0 Radon

Harmonic:

2-1-0 Helium (octave)

3-2-0 Argon (fifth)

4-3-0 Xenon (forth)

5-4-0 Ununoctium (third)

I thought it was a rather interesting correlation.

Keeper of the Troth of Ásgarðr,

*Moriar prius quam dedecorer*.### Re: Keely Chords

It's helpful and refreshing seeing notes this way. So a major triad such as a C major chord consisting of the notes C, E and G has C to E (a major third interval) separated by 120 degrees moving counterclockwise around the circle and E to G (a minor third) is a distance of another 90 degrees. If you stack minor third intervals and go all around the circle you get a diminished seventh chord. There is no law saying there can only be 12 notes. The octave can be divided with as many divisions as one wishes, and if you define notes as ratios, the polar distance between notes would not be uniform.LoneBear wrote: Also, one of the big discoveries was that the notes of music have little to do with frequency (the octave defines the tonic for tuning). The notes are just aphase offsetfrom that tonic, an "angle" in a rotating system. So Keely's diagrams are phase relationships, not frequency ones.

I thought of this, if you start somewhere such as C, and call that 1/1, then going around one time and arriving at C again brings you to 2/1, the octave. The next trip around brings you to 4/1, an octave higher than 2/1. If using ratios for the pitches, then the distance from C to G would be 3/2, a perfect fifth, or 3/2 of the distance around approaching the next C at 2/1. But I'm still thinking of frequency here.

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- LoneBear
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### Re: Keely Chords

Here's something else we found... due to the "discrete unit" (quantum) structure of having a natural datum of unity (the smallest quantity you can have of anything is 1), one can infer that, like the gravitational limit, when the magnitude of a harmonic overtone/undertone series drops below 1 natural unit

You can actually see it by looking at a spectrum analysis of music. Synthetic instruments use a math series to calculate the harmonic sequences and stretch out towards infinity, showing up on the spectrum as reaching far into the ultrasonic range of around 31 khz. When a recording of "real" instruments is analyzed, the harmonics stop around the limit of human hearing, in the 12-15 khz range.

This is also interesting from the fact that with synthesizers, you are "hearing" music that is being played outside the eardrum's response range--but not out of the range of other organs susceptible to those frequencies. The ultrasonic (and infrasound from undertones) could be affecting the subconscious mind, just like objects in the far corners of the range of vision do.

*it stops there*--the harmonics DO NOT continue to infinity.You can actually see it by looking at a spectrum analysis of music. Synthetic instruments use a math series to calculate the harmonic sequences and stretch out towards infinity, showing up on the spectrum as reaching far into the ultrasonic range of around 31 khz. When a recording of "real" instruments is analyzed, the harmonics stop around the limit of human hearing, in the 12-15 khz range.

This is also interesting from the fact that with synthesizers, you are "hearing" music that is being played outside the eardrum's response range--but not out of the range of other organs susceptible to those frequencies. The ultrasonic (and infrasound from undertones) could be affecting the subconscious mind, just like objects in the far corners of the range of vision do.

Keeper of the Troth of Ásgarðr,

*Moriar prius quam dedecorer*.### Re: Keely Chords

I never liked the noise of ultrasonic washers that the labs have, too high for me. Dont like bass either goes right through and gets my insides feel nauseous when played loud enough, with big speakers. Was very unpleasant to sit in a car seat that kicks you in the back regularly. Haven't had that unpleasant experience in many years though.LoneBear wrote:This is also interesting from the fact that with synthesizers, you are "hearing" music that is being played outside the eardrum's response range--but not out of the range of other organs susceptible to those frequencies. The ultrasonic (and infrasound from undertones) could be affecting the subconscious mind, just like objects in the far corners of the range of vision do.

But I guess these sort of frequencies you are talking about are being used to control people. Could it be used to hypnotize people too? It would be interesting to see if they play something alongside with advertisements that we dont normally hear, which affects on subconscious level. I dont have the tech/programs to do that, but some might, who might be also interested of finding out.

Enjoy the Silence